Teddy Abrams is a stressed, artistic spirit. Whereas occupying the world of up to date classical music, his works – starting from his Grammy-winning Piano Concerto (2022) to the esoteric track cycle The Order of Nature (that includes vocals from My Morning Jacket‘s Jim James) – are distinctive and boundless. For his newest work, Abrams is engaged on a a lot smaller scale, as Preludes includes 16 solo piano items, ranging in fashion, temper, and execution.

As Abrams explains on his Bandcamp web page, each bit “comes from an improvisational train that turns into accomplished work by refining the spontaneously created materials, stripping away pointless and superfluous parts”. He additional describes Preludes as “a examine in private and compositional restraint”. Working alongside producers Gabriel Kahane and Casey Foubert (Sufjan Stevens, the Shins, Lucius), the “character” of every prelude was labored on by making a sound world for each observe, which helped give every composition the suitable stylistic residence.

The sparse, moody “Microcosm” opens the proceedings, the contemplative nature of the piece resulting in the lengthy, sustained observe at its conclusion. Nonetheless, issues quickly flip playful, because the fluttering, ethereal notes of “Echo Charlie Resort Oscar” emit a dreamlike high quality. Whereas the off-kilter waltz tempo of “Close by Parallel Universes” recollects a wobbly tackle classical piano tropes, Abrams’ true experimental coronary heart beats on the middle of “The Scream”, as what feels like an upright tack piano orbiting earth is run via a wash of closely processed post-production.

A few of the extra uncommon moments on Preludes embody “Discovered Materials”, which matches synth or organ notes (or maybe closely processed piano) with acoustic guitar fragments, making a soothing, ambient vibe. The frenetic, cacophonous “Gigue” possesses real weirdness, which is matched solely by its playfulness.

Abrams enjoys name-checking composers on Preludes, reminiscent of on “Mahler’s Pedal”, which maintains a funereal tempo and a darkish, mysterious air. In the meantime, “Spake Schumann” sees Abrams stabbing out chords with wild abandon, however nonetheless managing to eke aching melody and an emotional pull out of his considerably unorthodox strategies. Whereas he’s not talked about by title, the closing “Macrocosm” is strongly paying homage to a dreamy, up to date tackle Bach’s “Nicely-Tempered Clavier”.

Preludes works fantastically as a group of experimental classical items for solo piano. Nonetheless, extra importantly, it showcases yet one more facet of Teddy Abrams, a extremely completed musician and composer who refuses to sit down nonetheless.